Love among the Chickens started off with a bang. After the first third, I was beginning to wonder if it was going to become my favorite Wodehouse book (not that I have one, officially. I initially decided to retain judgment until all of the contestants had presented themselves). Two bits in particular caught my fancy, which, in context, had me giggling helplessly. Should this happen more often, I suspect that my fellow Commuter Rail passengers might have me committed. The first was the description of a chase between the narrator and a particularly vile member of the poultry race called Aunt Elizabeth. He was taxed a considerable amount by this hen, although he had tried to remain a gentleman about the entire ordeal, until:
“I am not a violent or quick-tempered man, but I have my self-respect. I will not be sneered at by hens.” p. 49
The second was the description of a cold dinner that was to
be served to our heroes:
“A huge cheese faced us in almost a swashbuckling way. I do not know how else to describe it. It wore a blatant, rakish, nemo-me-impune-lacessit
air, and I noticed that the professor shivered slightly as he saw it.” p. 65
The rest of the book, which introduced the character
Ukridge, whom Wodehouse would write about later on in his career, trots along
merrily. The narrator, an author based
in London looking for a diversion from the city, agrees to start a chicken farm
with him. The story is told in first-person
narration, and it was difficult to separate this character from the young Wodehouse. Given that it was written in 1906, perhaps
Wodehouse injected a bit of himself into the character. He does not reach the imbecilic height of
Bertie Wooster, although, by agreeing to start a farm with a dubious person,
one detects a sense of whimsy.
The problem that I had with the book was that the ending was
flat. Endings are difficult things, in
life as in writing. Oddly enough, I have
been thinking a lot about ending recently because I am going through a slew of them
on both the personal and professional fronts, which is a bit disconcerting, to
say the least. The thing about a book,
unlike life, is that one has control over the ending. Wodehouse normally leaves you firm in the
knowledge of what happened to the characters.
This time around, I was not so certain that the object of the narrator’s
affections would keep their engagement, owing to certain events that concern
the dissolution of the farm (I would write spoiler alert, but, honestly, the
novel is over a century old. It’s akin
to having to stop yourself from telling people not to become too attached to
Anna Karenina.). Then there was the idea
that the narrator probably really should be getting back to London, although
that was not mentioned. It sort of
drifted off, instead of, like many an American Olympic gymnast, sticking a firm
landing. One reason that I think crime
procedurals are so popular is that there is a finality that people rarely get
in everyday life. One knows what
happens, and moves on. I did not
appreciate the sense of being dangled at the end, and this was what took Love among the Chickens out of the
favorite Wodehouse tome race, despite a strong early showing.